Nudge Your Elements

For those who haven’t come across it already, earlier this year I made a fairly complete summary of my approach to designing online with a grid, presented in conjunction with Mark Boulton at the South by Southwest Interactive Festival in Austin, Texas. There’s one crucial idea buried in that slide show, though, that I felt was important enough to pull out into its own blog post, if only so that I can have a URL to which I can point people when I’m explaining it. Here it is…

Continue Reading

+

Pages Are the Problem

The names we give things can be so important because they can cause so much havoc. The fact that we call the basic organizing unit of a Web site a “page,” as in “Web pages,” has made the lives of Web designers immeasurably more challenging, and it’s a disservice to those coming to the Web from the world of print, too.

I’m not going to propose an alternative to the term page here — I may as well tape a “kick me” sign on my back if I’m going to venture in that kind of folly. I just thought it would be useful for me to articulate the confusion that I’ve seen that’s arisen from this particular terminology.

Continue Reading

+

The Other Times

The Times of LondonOne question I get from time to time is, “What do you think of so-and-so’s redesign?” People ask me this about many sites of all kinds, but most often, the inquiry regards the redesign of a news site of some sort. As it turns out, my position as Design Director at NYTimes.com suggests that I might have a halfway interesting answer.

To be honest, I don’t like to comment on our competition, mostly because I think it’s inappropriate for me to make remarks that could so easily be confused as an official New York Times view on what another news outlet is doing online. It’s not that I don’t have an opinion on what they’re doing, I just think it wouldn’t be productive of me to air my thoughts publicly (catch me in private if you really want to know), even if those opinions are generally positive — and they frequently are, as lots of companies in the online news space are doing exciting work.

I do make an exception, though, for those instances where I think a competitor has really hit it out of the park, and when I like a design enough to be effusively positive about it. One example of this, from last September, is the discussion between Liz Danzico and myself over last fall’s redesign of The New York Post’s site. It’s not without its flaws, but I still stand by my contention that it’s a nearly pitch-perfect expression of that paper’s brand and journalism. Nicely done, I say.

Today I want to talk about another example of a newspaper that, I think, is doing really wonderful work online: The Times of London’s recent redesign beautifully translates (versus simply transferring) its broadsheet aesthetic into something vibrant and native to the Web.

Continue Reading

+

Lately at AIGA New York

AIGATime for a quick round-up of matters relating to AIGA New York, of which I am a board member. When last we left our story, I had endeavored to bring more digital design into the fold when it comes to programming the New York chapter’s events. We started last fall with a Jeffrey Zeldman Small Talk which was quite successful, I think.

Things have been a little quiet since, but only because it’s taken some time to cook up some more interesting things. First off, we’re nearing the final stages of a new redesign of the AIGANY.org Web site. You may recall that I sent out an open call for New York-based design studios interested in helping us with this project last August. I got disappointingly few replies to that call, but as it turns out, one of the respondents — a terrific shop called Kind Company — was the perfect fit. Look for a brand new site from them soon.

Continue Reading

+

Layers Cake

Adobe Photoshop 7One sure sign that you’re getting old is when you notice yourself stubbornly refusing to move up to newer versions of your software. For instance, I’ve been using Adobe Photoshop version 7.0 more or less since it was first released. And though this version was released five years ago in 2002, and though I own a full version of Adobe Creative Suite ( newer, but no spring chicken, itself), it’s still the version that I prefer to launch every time I sit down to work in front of my Intel-based iMac.

I realize that, compared to more recent editions, version 7.0 is quite feature-limited. But in some ways, I prefer those limitations, especially its inability to nest layer folders. I know, that’s a little nuts, but I find that being restricted to a single level of layer folders helps me keep all the constituent layers in my files organized. I’m the kind of obsessive nut who likes to properly name every layer in my files, and to keep them neatly organized; I’ve found that nesting those folders works against that.

Most of all, I stick to Photoshop 7.0 because it’s fast. It boots up almost as quickly on my aging 12-in. PowerBook G4 as it does on my much newer, much faster iMac, which lets me work on the same files whether I’m at home or at work. I’ve long considered the secret to using Adobe software to be to run older versions on newer hardware, and this is my primary evidence that doing so works.

Continue Reading

+

Making Your Site Look Like Mine

Even with all the email that I receive, I’m still the kind of person who finds it very difficult not to reply to a message that someone has sent me, especially if the sender has posed a question of some kind. As a result, I often find myself writing familiar replies to queries that come in over and over, from different people. These are generally earnest questions about the way I work, where I draw inspiration from, advice on design, etc.

I’m more than happy to provide answers and to give something back in my small way, but it’s becoming a harder and harder job to pull off. I have a continual backlog of emails flagged for follow-up, and catching up feels like a kind of treadmill sometimes.

So I’m going to start, here, publishing an occasional series of blog posts covering answers to some of those frequently asked questions. When I get around to it, I’ll collate them and post them in an evergreen spot on the site.

The question I want to tackle in this inaugural post is commonly posed something like, “Can I use the design of Subtraction.com for my site?” Variants include, “Can I make a WordPress theme (or similar template) from your design?” or, “I just redesigned my site and it looks a lot like Subtraction.com, do you mind?”

The answer to the first two questions is “no,” and the answer to the last is, “yes.” But with comments.

Continue Reading

+

A Hugh Influence

There was such an encouragingly substantive response to my post about the apparently problematic quality differential between panels and lectures at South by Southwest Interactive this year that I felt compelled to do something useful with them. Specifically, I felt that I should share the comments with Hugh Forrest, the indefatigable and remarkably responsive Event Director who somehow manages to move mountains to make the festival happen year after year.

It only seemed appropriate to do so, because Hugh, based on my limited contact with him, has always seemed to be a good guy open to reasonable feedback on how to improve the festival that he’s been involved with for years. So I sent him an email pointing him to the post on Sunday night and received a lengthy and very thoughtful response the very next day.

We exchanged a few more emails, debating the ideas in my original post as well as those from the comment thread, and I found myself in the opposite position from where I’d been before: having shared Subtraction readers’ comments with Hugh, I now wanted to share Hugh’s comments with readers. So, with his consent, I’m going to excerpt a few of his remarks from the email thread here.

Continue Reading

+

Oh Yeeaahh!

Yeeahh!It’s been about a year now since I first started thinking about creating some kind of definitive documentation about my approach to designing for the Web with the typographic grid as my primary layout tool. I spent a few weeks last summer putting a lot of those thoughts down on paper, but nothing much became of them.

Then, a few months ago, in preparation for a workshop at Carson Systems’ Future of Web Apps conference, I started thinking about how to visually represent the problem-solving process that I go through when designing new interfaces with grid layouts. At first, I started thinking about disassembling and then reassembling one of the designs in my portfolio. But that seemed as if it wouldn’t be quite satisfactory, as I wanted the ability to talk openly about all the different factors that go into a design solution, without worrying about offending colleagues or clients.

Continue Reading

+

Missing Class at SXSW

SXSW 2007Here’s where I come clean a bit and stop vaguely assigning blame to this year’s South by Southwest Interactive Festival panel participants as a faceless group. The truth is that I’m guilty of exactly what I outlined in my previous entry — the unconscientious lack of preparation and conversational inexactness that can torpedo a panel discussion. And worse.

On Saturday afternoon, almost immediately after doing a two-person, twenty-five minute lecture with Mark Boulton called “Grids Are Good,” I joined my former colleague and business partner Chris Fahey on his panel, “High Class and Low Class Web Design.”

It goes without saying that the concept of class is a touchy topic. In a series of blog posts last year, Chris wrote at length about why we, as designers, don’t talk about class, and why we may be operating within the constraints of class-mindedness without realizing it or acknowledging it. These were complex, ambitious and thoughtful articles, and if you work in Web design and have interest in this subject, you’d do well to read them for yourself.

Continue Reading

+

Panels and Growing Pains at SXSW

SXSW 2007As a way of making up for the fact that I did very little (read: zero) blogging from the 2007 South by Southwest Interactive Festival this year, I’m going to try and offer a somewhat hefty post this evening about it. Rather than recounting all of the individual events that occurred between late last Friday evening, when I arrived, and Monday afternoon, when I left, I’m going to sort of give a high-level summary of my major complaints about this year’s festival content and how I, personally, contributed to that problem. This entry is going to be so substantial, in fact, that I’m going to split it into two parts. Read on for the first, and be sure to read the second when you’re done.

Continue Reading

+